Trans Siberian Orchestra Rocks Holiday Opera Live Posted: March 2013 | For Immediate Release For the first time ever, Trans-Siberian Orchestra performed their acclaimed 2004 rock opera The Lost Christmas Eve live in its entirety. Written by founder Paul ONeill, it tells the uplifting story of redemption and salvation on an enchanting Christmas Eve in New York City. The orchestra takes listeners on a journey deep into their imaginations, from a run-down hotel, to an old toy store, a blues bar and a Gothic Cathedral. The tour, presented by the Hallmark Channel, ran through the end of last year with Clair Global providing exclusive live sound production.
TSO created two separate and complete productions in 2000 to allow the band to cover more ground and they've maintained that format ever since. In 2009, the two tour monitor engineers, Antonio Luna and Chris Hoffmann made the decision to go with the SD7s largely because they had maxed out their D5 consoles. In 2010, both outfits fully upgraded the FOH rigs similarly to a pair of mirrored DiGiCo SD7 systems (comprised of a console with SD-Racks at both FOH and monitor world). The DiGiCo SD7 has been on tour with TSO ever since.
It's interesting, explains current unit monitor engineer, Scott Fraser, that we basically built two identical shows systems for essentially two different shows. While the kits are the same, the way the SD7's are utilized between the two productions is uniquely different.
"In the big picture, having identical consoles for both really kept things simple and provided consistency, from a production and logistics standpoint," said Troy Clair, Clair Global president. "For the operators, it kept the workflow smooth and eliminated compatibility issues."
We started using the SD7 at FOH for the first spring 2010 Beethoven's Last Night tour after having used large analog consoles for the first 11 years, recalled Dave Wittman, FOH engineer for the original TSO production and currently on tour with one of the productions. It was the perfect time to make the switch since we needed a smaller footprint but more inputs as we went back to theatres for the spring tours. I went to Clair Global in Chicago to get some basic orientation with the console. At that time, Michi Tanikawa (current FOH engineer for the second production) was my tech. Once I got the layout to a point where I'd be comfortable, Michi did all the console programming. From then on, we were able to use the saved files from tour to tour with only minimal modifications.
Wittman worked with frontman O'Neill back in the late 70's on a short project. Nearly 17 years later, they hooked up again when Paul needed an engineer to mix the band Savatage's album Dead Winter Dead in 1995. Shortly thereafter, we started recording Paul's new project, Trans-Siberian Orchestra, and within a year or two, Paul wanted to tour TSO and asked me to go out and mix the show. I explained that I had never done live sound before, but Paul encouraged me to give it a go. Well, here we are 14 years later and I'm having a blast! I've been working with Paul ever since, recording and mixing all of TSO's studio albums and a live show ever since.
In total, each TSO unit has approximately 65-80 inputs for drums, bass, two guitars, four keyboards, 12 vocal mics, eight live strings, and audience mics with another 15 inputs for spares and utility stuff. I probably haven't scratched the surface using all the features on the SD7 that I could, Wittman laughs. On the other hand, I try to keep things simple and the SD7 does everything we need. I have always had two or three outboard reverbs and a bunch of compressors. Now, having all this onboard is perfect. Flexibility is key with this console; I know it's there, and it more than meets my needs. Additionally, we record each show to Digital Performer and the simplicity of interfacing 80 channels via MADI with two cables and the ability to playback and refine your mix later is a tremendous help. Not to mention, the sonic quality is superb.
A self-professed analog guy who has worked with TSO for the past 5-6 years, Michihiro Michi Tanikawa happily and willingly concedes to the SD7 at FOH for the West Coast unit. I like analog consoles, but we can't bring them on tour, so that's why I stick with the SD7. It makes everything sound more analog with digital convenience. I had been using a D5 for a long time, which made it easy to start using the SD7the faders and layout is set up very much like an analog console unlike some of the other digital console's out there. I still like the analog console sound, but the SD7 always sounds accurate, every day on different gigs and takes up less space. Also, they are great for doing multiple recordings and virtual soundchecks.
I love the console's basic logistics and layout; it's very similar to the D5. And it sounds so great amazing! The SD7 has a more hi-fi' sound especially for TSO. And because our audience ranges from young children to adults, we keep the volume comfortable for everyone, while still being a powerful rock show. There are narration parts, too, that must sound clear so everybody can understand what is being said. It's also fun to change the EQ just a little bit and hear how it alters the sound drastically. The only outboard compression I'm using is a Smart C2 compressor to make it a little bit warmer and analog-sounding before I send it to the PA. The band loves the console and the production loves it too.
At monitor world, the configuration for each outfit is a mix of wedges and in-ears: 24 mixes of Sennheiser IEM (8 mixes of 2050 and 16 of G3), two stereo mixes of Clair CM 22 and two mixes of Clair SRM, with the wedges all powered and processed by Clair StakRac with Lab Gruppen PLM20000Q.
